Saturday, June 27, 2015

So massive was the bloodbath that ended Hannibal’s second season that four episodes into Season 3, we’re still dealing with the aftershocks from that event. “Aperitivo” finally picks up with the entire cast and stands as a showcase for just how much Hannibal Lecter has damaged all of these people, both physically and emotionally. Everyone in “Aperitivo” is walking around with some Lecter-initiated war wounds, and though the cannibal barely appears in the episode (and even when he does, he’s consigned to brief flashbacks or dream sequences), his presence is deeply felt. So heavy is the shadow he casts over all of these people that he doesn’t need to be in their immediate orbit, doesn’t even need to be on the same side of the world, to consume their every waking moment.

Take Alana Bloom, the last major question mark left hanging over the slaughterhouse that was once Hannibal’s home. She, too, survived, but with a shattered pelvis to show for it. But this is not the same Alana Bloom we knew before. The final major holdout last season in accepting that Hannibal was a diabolical killer (one with whom, you’ll recall, she shared a bed), her character was previously defined almost exclusively by her open concern for the men around her, leaving her as easily the least compelling member of the series’ cast. But this Dr. Bloom immediately seems different. Reduced to walking with a cane, Alana now feels more self-possessed and dispassionate. With Jack claiming to have relinquished any lingering feelings concerning Hannibal, and Will too conflicted about just what his feelings toward Hannibal even are, Alana now stands alone among the survivors as desiring revenge against the good doctor, something she discloses during (and is perhaps even the impetus for) her sessions with her new patient, Mason Verger.

Yet Mason is also a Hannibal survivor, and as despicable a man as he is, he’s as entitled to his vengefulness as any of them. Mason, now played by Joe Anderson, fairly seamlessly taking over from the memorable Michael Pitt (a feat made a bit easier to achieve by the amount of facial prosthetics the character now requires), is already embarking on his plan, originated from Hannibal the book and film, to hunt Hannibal down and feed him alive to his pigs. His plan gives the storyline a familiar framework, but as always, one of the pleasures of Hannibal is watching how it subverts the established lore of these characters while remaining reverential (speaking of reverential, for a show that went in such a completely different direction with Hannibal Lecter from Anthony Hopkins, it’s a bit surprising just how much this incarnation of the Verger character is cribbed directly from Gary Oldman’s performance and appearance in Hannibal).

Also making a return appearance is Dr. Frederick Chilton, a man who has been indirectly “killed” by Hannibal Lecter twice now, yet keeps on popping back up, like a live-action Kenny. Considering that the last time we saw Chilton, a bullet was sailing clean through his head, he’s looking pretty good, with makeup, a contact lens and a bridge of false teething piecing him together quite nicely. Chilton, ever the self-serving opportunist, is seeking Hannibal Lecter not out of vengeance or desire, but for the requisite fortune and glory. He wants the man locked up in his institution, and is such an eager beaver to cash in on having such a famous patient that, we’re told, the first thing he did upon getting out of the hospital was to trademark the name “Hannibal the Cannibal.” And, for a show as frequently somber as this one can often be (especially this season), having Raul Esparza’s endlessly enjoyable superciliousness back on display is exactly what Hannibal needed right now.

That just leaves Jack and Will, both of whom, we know from the previous episodes, do wind up overseas on the hunt for Dr. Lecter, yet here, both men are still trying to figure things out. Will has taken refuge in his “memory palace,” where Abigail Hobbs can still keep him company, but he openly admits to Jack that he entertained notions of running off with Hannibal prior to that fateful night. Will’s pursuit of Hannibal is perhaps most intriguing of all because his are the only motives that remain completely opaque, perhaps even to himself. He doesn’t know how he feels about Hannibal Lecter, except that he doesn’t feel complete without the man in his life. Jack, who has been displaced from the FBI, is ready to wash his hands of all of them until Bella, his ailing wife, takes a turn for the worse, leading Jack to do the very thing he refused to do once before and take his wife’s life to end her suffering. Bella’s death is the one thing in “Aperitivo” that seems to exist outside of Hannibal Lecter, until Jack receives an impeccably written letter from the man at his wife’s wake. In the end, what else does Jack have left besides Hannibal Lecter? What do any of them have?

And that’s where “Aperitivo” leaves us. Hannibal Lecter is out there and he’s left a motley crew of scarred pursuers hot on his trail, each pursuing a different endgame. He wouldn’t have it any other way.

The opening salvo by Marvel Collector Corps in the subscription box war resulted in a fabulous and memorable April, complete with a great Funko Hulkbuster and impressive t-shirt, along with a ton of other stuff. Whether it could sustain it with a solid June followup was the only question/concern, while competing with excellent Loot Crates from April, May, and June. Well, the boxes have shipped and I'm force to utter the same word I've used to summarize my entire feeling about the Ant-man movie: MEH.
The Promise

Before we begin, let's look at the deal again: promising a value of $50, the box would keep the "fluff" (their words) to a minimum with Funko partnering each time to deliver an exclusive figure. Joining at the Founders level would get you an 8" exclusive figure on your one-year anniversary, but you can also subscribe at the Collector level at $25 with $6.95 shipping. We're still not sure which figure they will release to Founders, but I have a suspicion that it will be Funko related. With my Marvel Unlimited Plus comic sub, I get a terrific (and exclusive) Legends figure, so I'm hopeful that we'll see something as high quality as the Rocket Raccoon which graced my door a few months ago.
The Delivery

From the looks of it, this box is smaller than the Cap-themed case. It's also lighter, which means no Hulkbuster-sized figure inside. As I soon discovered, the contents were decidedly a let down. This month's theme is (of course) Ant-man, which tags with the release of the July 17th Phase 2 bow. Again, the outer box features a classic Ant-man image, as well as lettering across the entire sides of the box. There's also classic art on the inside and both are nicely done.

As with April, the flap contains two collectible "accessories" including an Ant-man Marvel Collector Corp patch and pin. Both are very nice and well constructed. It looks like these are selling briskly on eBay, confirming my belief that they're worth between $7-10. I'll be keeping mine, as these are quickly becoming the best parts of the boxes.
The Guts

Immediately upon opening this, we see three - yes 3!(?) - Funko bobbleheads. Some of you will be thrilled, me not so much. It's clear that Funko is heavily partnering with Marvel, and that each month will feature some sort of exclusive lot. I just hope that the piling on of the bobbleheads isn't a trend.

To their credit, the Ant-Man is AWESOME: beautifully designed and painted with the unmasked Hank Pym. The other great part is the smaller Ant-man buddy that comes in the box (seen here behind the label). They claim it's the smallest bobble they've ever made. Although I'm not a huge fan of these, it's clear that these are well-made and totally exclusive to Corps.

But as I mentioned, there are two mini bobbles included in the box. While each was equally made, there is a chance that I and others could have received the same one. I don't intend on opening mine, as their boxes are glued down. I would hate for my disappointment to be compounded, but the images I've seen of them are merely decent. The thing I hated about the last box - two of the same type of figure - is disappointment enough.
Just Another Shirt

My favorite part of April's box was the 1:4 incredibly cool Avengers "boxing" themed shirt. June's is just not that good: the 'big logo with small Funko dude' theme is a bit on the nose. April's had not only a diversity of images, but it was busy with lots of creativity. I've been very underwhelmed with Marvel's marketing push for the film, with posters looking either very 90's-ish or the now-infamous series with Pym standing next to Cap's shield, Thor's Mjolnir, and Iron Man's repulsor. The shirt is also not as soft as the boxing one, which might banish it directly to Fall. Although Hot Topic might try to charge $25 for such a travesty, I doubt anyone would buy it. I get the theme, but it's still pretty boring.
The Comic

Included with the set is another comic: a MCC variant cover for the current run of Ant-man. Created by Justin Ponsor, we're also given this summary:

The explosive first arc finale! There aren't actually any explosions - but there IS a big showdown with our poorly lit villain, and plenty of heartbreak to go around. Nothing will be the same again! Except you're still aging. That's not going anywhere.

It's a pretty good read, and should give you a decent idea of what to expect from the movie. Based on the $2.99 eBay sales for April's Guardians Team Up, I'm not sure the Ant-man one will rise any higher. However, kids should like it, and it's immediately going into a sleeve. Considering these boxes arrive via USPS, MCC should look into protecting these better, as I've heard some subscribers complaining about receiving dinged editions.
The Bottom Line

Marvel's Collector Corps' June release is a disappointment. Filled with several 'exclusive' items, the box is missing that power punch of Pym Particles that makes his hero such a tough customer in the comics. But like the marketing for the film, MCC's efforts here do little to impress upon anyone that the July 17 release will be anything other than a blip on a very busy Summer movie radar. True, the company is making an effort, but in a race where they came out of the gate hot and clearly in the lead, the last few months of Loot Crate has certainly caught up.
Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Friday, June 26, 2015

Win Tickets To An Advance Screening For TERMINATOR GENISYS on June 29 at 7:00 PM in San Francisco.

When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline.

Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…

See how to win tickets after the Jump...

Make sure to LIKESandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

Go to GOFOBO and enter Code: kQDcE99641

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

"I don't see how we can do [a sequel]. It's not made for that,” Luc Besson said last summer about the prospect of a sequel to the surprise smash hit "Lucy." “If I find something good enough, maybe I will, but for now I don't even think about it.” Well, it looks like he's thought about it and something is brewing.

At CineEurope 2015, production house EuropaCorp (which Besson heads up) announced their slate of upcoming films, which quietly mentioned that "Lucy 2" was "in development."

While a sequel to "Lucy" isn't surprising, and we would imagine is probably contingent on Scarlett Johansson returning to reprise her role, a follow up to "Colombiana" is certainly unexpected. The 2011 film only made $60 million worldwide and hasn't been thought of much since, but perhaps Besson is thinking that between upcoming "Star Trek" and "Avatar" films, Zoe Saldana is someone whose profile is only going to get bigger, and it would be wise to stay in business with the actress.

We'll see if these projects go any further down the development road which can be bumpy or neverending, but certainly, Besson has some ideas percolating. [Allocine]

Variety is reporting that Bavaria Film is planning to remake Wolfgang Petersen’s 1982 classic “Das Boot,” according to German trade magazine Blickpunkt.

The World War II German U-boat drama, which starred Juergen Prochnow, Herbert Groenemeyer and Klaus Wennemann, was nominated for six Academy Awards. It was later aired on television as a six-part miniseries.
Christian Franckenstein, Bavaria’s co-CEO, told Blickpunkt that the company would also be looking to remake other titles in its library, including 1960s science fiction TV series “Raumpatrouille Orion” (Space Patrol).

In his Blickpunkt interview, Franckenstein also spoke about a change of emphasis for the movie production side of Bavaria. After cost over-runs on Dominik Graf’s costume drama “Beloved Sisters,” which played in competition at the Berlin Film Festival and was Germany’s Oscar entry, and a box-office flop on another bigger-budget historical drama “Ludwig II,” more attention will now be on a movie’s potential profitability.

Deadline is reporting that Kevin Costner is up for the lead in one of Amazon's pilots. The Oscar winner is in negotiations to star in Trial, the Amazon Studios drama from The Practice, Ally McBeal and Picket Fences creator David E. Kelley. With him on board, the project would get a 10-episode straight-to-series order. David Semel, who has directed the pilots for such series as Heroes, Person Of Interest, Madam Secretary, and most recently, CBS’ upcoming Code Black and Amazon’s The Man In The High Castle, is expected to direct.
The legal drama, which Kelley co-wrote with his Practice and Boston Legal producer, fellow former attorney Jonathan Shapiro, centers on Billy McBride (the role that Costner is in talks for). Once a big and powerful lawyer, Billy has become a shell of his former self, an alcoholic in a rumpled suit. Billy’s downfall came after he lost a case that saw an innocent kid murdered, and his guilt-driven alcoholism cost him his wife and his job after his longtime partner Cooper turned on him and kicked him out of their law firm. Still hanging onto his dry charisma, Billy is now going head-to-head against Cooper, bringing a case against his former partner, which begins to stir in him his old ambition.

Earlier this month, the first image of David Duchovny’s Mulder and Gillian Anderson’s Scully in the X-Files revival landed online thanks to the show’s twitter feed. Now here come some better quality looks at the pair – plus fellow cast members Annet Mahendru and Joel McHalecourtesy of Entertainment Weekly.

See all the images after the Jump...

There are also a few fresh details about the new, six-episode run bringing the conspiracy-investigating, monster-tackling duo back to our screens next year, including the fact that we reunite with Mulder when he’s in a dark place, but that Scully’s a little more settled, as usual. “I like where we find Mulder and Scully in their relationship,” Anderson tells the magazine. “I also like the area of zeitgeist that we step in to. It’s on point and raises some very interesting issues. And question marks.”

According to series creator Chris Carter, back for this new limited run, the show will tackle our post-9/11 world. “A lot has happened since then. A lot of rollback of rights and liberties in the name of our protection. We’re being spied on now, we’re being lied to — all things that, for me, remind me of when I grew up, which was right around Watergate. I think we’re in similar and much more dire times right now.”

But possibly even more exciting than that is learning who has been writing and producing the episodes alongside Carter. Returning to duty are James Wong, Glen Morgan and, thrillingly, Darin Morgan, responsible for some of the series most memorable, quirky episodes including Humbug and Clyde Bruckman’s Final Repose. His episode for the new series? Mulder And Scully Meet The Were-Man. Cannot. Wait.

If 2011's Bridesmaids and Horrible Bosses began the renaissance of great comedies, then 2012's Ted kicked it in the balls, proving that the genre was back. A ridiculous and satisfying in every way, the story of a teddy bear come to life featured plenty of 80's references and expanded Actor Mark Walhberg's already impressive resume. With Ted 2, all the pieces are still there, with plenty of laugh-out-loud moments. But is it this year's most complete comedy? Not so much.

Set a few years after the first film, Ted (voiced by Seth MacFarlane) is getting married to trashy grocery store co-worker Tami-Lynn (Jessica Barth), while his thunder buddy John (Mark Wahlberg) is working through a divorce. Fast forward a year, and Ted's marriage looks like it's over, until the couple decide to have a baby. That opens up a series of legal troubles, as the state eventually determines that his non-sentience precludes him from adoption. They decide to sue, and bring on the newbie pothead lawyer Samantha L. Jackson (Amanda Seyfried). But Ted's nemesis Donny (Giovanni Ribisi) is still around, and when the state rules against the bear, Donny makes his move to deliver him to Hasbro in the hopes they can replicate Ted's soul. As Samantha and John search for him at the New York Comic-Con, Ted will make one final appeal for his existence before his chances at a successful marriage disappear.
Ted 2 is seriously funny: I mean laugh-so-loud-you-snort funny. Robin Williams jokes mixed with a little 9/11 for color? It's here. The Tom Brady Deflategate and his exceptional baby-makers? Ready and waiting for you. That might date things in a year or two, but MacFarlane weaves enough great moments that the whole should endure. He's the kind of comedic genius that some people simply won't appreciate (are you listening, Oscars?), perfectly mixing juvenile humor and tenor. His spitballs are nearly impossible to hit, whether it's a trip to the sperm bank gone horribly wrong, or watching Ted and company marvel over the perfect pot farm with Jurassic Park's theme playing in the background.

But it also goes off the rails when the tone gets serious about Ted's legitimacy as a human being. There's lawyers and suits and lots of serious looks by important people saying important things about human rights, which could have had meaning or could have been really funny. Instead, we get some half-baked (no pun intended) dime store speeches without ever REALLY considering if Ted should be recognized as sentient. At this point, the distinction between average toy and this foul-mouthed heathen should be fairly clear, and you might find yourself coming to the same conclusion several times while you hunt for breath taken away by all the great skits. Many of the scenes involving Donny and the shifty Hasbro president (John Carrol Lynch) are way too long, as you can only talk so long about urinal cakes before one loses interest. MacFarlane still has a lesson to learn about brevity as an effective comedic tool.
Ted 2 also slaps itself in the face when a certain cameo (if you seen the trailers, you know who it is) tells the bear that he's wasted his life smoking, drinking, and generally misbehaving when he could have been making a difference to young people all over the world. That didn't need to be in here, as it made me a little guilty for loving all the trouble he's caused. Overall, it's a pretty formulaic concept, with the same meaningless chases for Ted's soul, great little (but disconnected) skits, and a general roadmap that we can see coming a mile away. The first movie saw a death and rebirth of a major character and in Ted 2 we get the same thing.

The team of Walhberg and Seyfried is an improvement, with the latter holding her own when MacFarlane begins to drop the Gollum references (look at her and don't tell me there's a bit of a comparison to be made). Wahlberg spends most of his time interacting with a CGI bear, and comes out smelling sweet. He's proven himself time and again as a constant; here he makes John's love for Ted feel real and genuine, while busting out enough jokes with his thunder buddy to keep us in stitches. And yes, the cameos are here, from Liam Neeson as the paranoid grocery shopper to Jay Leno appearing in a single memorable shot.
What I've always loved about both Ted and The Muppets (opposite spectrums, I know) is that both are based in a fantasy world where any and all story beats can be entertained without us wondering if they're really possible. We can laugh about the ridiculousness of a stuffed bear or pig emoting about traffic jams or riffing 80's references while forgiving any small plot holes that can kill most like-minded competition. Few other franchises can make such a boast, and Ted 2 makes the most of it, descending man and bear into a world that most parents with 30-somethings still living at home will probably roll their eyes at the similarities. However, it's not this year's most complete comedy, stumbling to the end in a way that Spy simply didn't.

There may be some that say the gentler comedies of the 40's and 50's are better because they don't rely on the kind of crude humor that Ted 2 sharpens its teeth on. But the film is not only referential to the present, it's reverential to that earlier time, sporting a great opening production with out of 1936's The Great Ziegfeld. That sort of tip-of-the-hat is what makes it special, even if stumbles and meanders a bit. The only way you won't laugh is if you make an attempt to bring your grouchy face. But I promise that will soon disappear.
Ted 2 is Rated R for crude and sexual content, pervasive language, and some drug use and has a runtime of 115 minutes.
Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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In Director/Writer Boaz Yakin's Max, an army service dog is sent home to live with the family of the fallen soldier Kyle Wincott (Robbie Amell). At first, the surviving son Justin (Josh Wiggins) doesn't want the Belgian Malinois around, but his grieving parents Ray and Pamela (Thomas Haden-Church and Lauren Graham) decide to take Max in. As the parents struggle to incorporate Max into their home, Justin gets some much needed help to re-train the dog from his friends Carmen (Mia Xitlali) and Chuy (Dejon LaQuake). But when one of Kyle's fellow soldiers Tyler (Luke Kleintank) returns home to sell stolen weapons to a Mexican cartel, Max, Justin, and his friends must band together to root out the evil and win the day.
Max is one of the worst films I've seen this year, filled with every stereotypical subplot imaginable and doing none of it very well. There's the grieving family who doesn't grieve all that much, the typical television-grade action of soldiers in wartime, and the one-note drug lord who's looking to up his game into gun running. We never really focus on any of these subplots, except when dramatic effect or an action bridge are needed. In fact, the only redeeming quality behind Max is the dog himself, and even he's being obviously led from behind the cameras.
Writers Yakin and Sheldon Lettich do little to create a world where Max seems like the right place for this family, his big personality just overwhelming everyone else. LaQuake as the insert-a-minority-here reads off some of the worst dialogue I've heard, settling in as the story's comedic punching bag, while Xitlali's bad girl outer shell could have given way to a much deeper story about why she throws these walls up and how Max could help heal that. Instead, she's only superficially tough and prone to hitting her cousin Chuy just because. Wiggins can't get dialogue out at various points, his evil-looking eyes never getting to the issues as to why he's so angry. Again, service pets do wonders to melt the ice, but even when that happens he can't handle the dramatics.
Church and Graham, two actors I'd actually like to see more of, struggle here to keep from laughing throughout this heavy-handed script. It's the sort of rah-rah that Lone Survivor and American Sniper was so much better at doing, even if Yakin had no intention of going that dark. PTSD is a real problem among veterans and only barely granting Max with it does nothing to elevate the discussion of the trauma pets must also feel in those sorts of violent environments. From a production standpoint, Max feels like nothing more than an overblown Lifetime movie that somehow slipped in to the theater.
While the formulaic Max does takes a moment during the credits to celebrate the history of service dogs in wartime, the rest of it can be utterly skipped. Filled with horrible dialogue and foreshadowing that can be seen a mile away, its heavy-handed patriotic rah-rah does nothing to elevate the discussion of the extraordinary work these animals actually perform. This isn't something I could even recommend for rental, so I'd do yourself a favor and just watch Mad Max: Fury Road again. You'll thank yourself for skipping this one.
Max is rated PG-13 for action violence, peril, brief language and some thematic elements and has a runtime of 111 minutes.
Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.
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Thursday, June 25, 2015

Win Tickets To An Advance Screening For TERMINATOR GENISYS on June 29 at 7:00 PM in San Francisco.

When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline.

Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…

See how to win tickets after the Jump...

Make sure to LIKESandwichJohnFilms on Facebook and follow us on Twitter for all your entertainment news and to be to notified about our upcoming Advance Screenings. Also make sure to subscribe and download our Podcast

Go to GOFOBO and enter Code: cwJnH28220

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device.

THE ART OF PARODY IS ALIVE AND WELL WITH THE PREMIERE OF L.B. RAYNE'S TERMINATE OUR LOVE MUSIC VIDEO

A vault of rejected music videos for popular 80s films by an obscure musician is Joe & Doug Bresler's contribution to the art of parody.

Parody is not what it used to be. With the advent of YouTube, the canvas for this once great art form has been deformed and exploited in every way imaginable, creating a genuine state of uncertainty for the genre as a whole. The days of "Weird Al" Yankovic's brilliant music video premieres on MTV and feature films like "Airplane" and "The Naked Gun" feel like a thing of the past. That's where L.B. Rayne swoops in to save the day. Created by brothers Joe and Doug Bresler, Laurence Butler Rayne is the quintessential hack who never quite got his big break in the entertainment industry, and like many failed artists, has an inventory of embarrassing efforts to show for it.

Doug Bresler is the founder of Doogtoons, an animation company with a number of high profile clients including Google, Fox Sports, Cinemax and even "Weird Al" Yankovic who tends to make cameo appearances in Doug's work. While Yankovic certainly brings a certificate of authenticity, L.B. Rayne stands on its own as truly brilliant parody work that has proven to resonate with a growing cult audience. Summoning the effeminate traits of Michael Jackson, Prince, and musical styles exclusive to the 80s (think Lionel Richie) L.B. Rayne, complete with a jery curl and thick black sunglasses (looking like Giorgio Moroder in his prime), created theme songs for a ton of 1980s movies including "Tron", "Raiders of The Lost Ark", "Star Wars: The Empire Strikes Back", and the latest discovery 1984's "The Terminator" as well as many more that have never seen the light of day… until now! The fake narrative is comprehensive. A producer by the name of Hal Lowenstein seems to be responsible for this inventory of wasted money. While unconfirmed, there is a theory going around that Hal Lowenstein is in fact L.B. Rayne's father!

Terminate Our Love is Doug's sixth entry in the epic saga of L.B. Rayne music videos. Like the previous efforts, the attention to schlocky detail is impeccable and the song is undeniably catchy. Check out more videos on Doug's YouTube channel Doogtoons and sign up for the newsletter to find out about new L.B. Rayne "discoveries".

The Smith Rafael Film Center will be hosting a special Skype Q&A with Jason Schwartzman following the 7:30PM showing on opening night this Friday, June 26!

Alex, Emily, and their son, RJ, have recently moved to Los Angeles’ Eastside from Seattle. Feeling lost in a new city, they are desperate to find their first new friends. After a chance meeting with Kurt at the neighborhood park, they gladly agree to join family pizza night at the home. But as it gets later and the kids go to bed, the family “playdate” becomes increasingly more revealing and bizarre as the couples begin to open up.

This first look at Asif Kapadia’s documentary gives us a glimpse at how Amy used music to confront her own struggles.

From BAFTA Award-winning director Asif Kapadia (SENNA), AMY tells the incredible story of six-time Grammy-winner Amy Winehouse – in her own words. Featuring extensive unseen archival footage and previously unheard tracks, this strikingly modern, moving and vital film shines a light on our culture and the world we live in today.
A once-in-a-generation talent, Amy Winehouse was a musician that captured the world’s attention with her unforgettable voice and charisma. A pure jazz artist in the most authentic sense, Amy poured her heart and soul into her music, expressing personal struggles and pain through her intimate lyrics. The combination of her raw honesty and virtuosity resulted in some of the most unique and adored songs of our time.

Amy became an international sensation, experiencing a meteoric rise to fame she had never sought nor expected. The relentless and invasive media attention, coupled with Amy’s troubled relationships and addictions, led her into a tragic cycle of self-destruction, resulting in her untimely death at age 27. Four years later, Asif Kapadia’s powerful documentary invites audiences to remember and celebrate Amy as a brilliant artist while asking ourselves how it was that we watched her disappear in front of our eyes.

From Academy Award® winner Brian Helgeland (L.A. Confidential, Mystic River) comes the true story of the rise and fall of London’s most notorious gangsters, Reggie and Ron Kray, both portrayed by Tom Hardy in an amazing double performance. Legend is a classic crime thriller taking us into the secret history of the 1960s and the extraordinary events that secured the infamy of the Kray twins.

Watch the trailer after the Jump...

Written and directed by Helgeland, the Studiocanal, Working Title and Cross Creek film co-stars Emily Browning, David Thewlis, Christopher Eccleston, Chazz Palminteri, Tara Fitzgerald and Taron Egerton. Working Title Film’s Tim Bevan and Eric Fellner produce Legend alongside Chris Clark, Quentin Curtis and Cross Creek Pictures’ Brian Oliver. Universal will release the thriller in the U.S., and Studiocanal will distribute in the U.K., France, Germany and Australia/New Zealand.

Deadline is reporting Bella Thorne and Patrick Schwarzenegger have been cast as the leads of Midnight Sun, a YA love story that will be financed by Boies/Schiller Film Group. Scott Speer (Step Up: Revolution) is set to direct the pic from a script by Eric Kirsten.

Based on a 2006 Japanese film, Midnight Sun centers on Katie (Thorne), a 17-year-old sheltered since childhood and confined to her house during the day by a rare disease that makes even the smallest amount of sunlight deadly. Fate intervenes when she meets Charlie (Schwarzenegger) and they embark on a summer romance. A September shooting start is planned.
John Rickard and Zack Schiller, who are collaborating on the Fletch redo with Jason Sudeikis at Relativity, are producing. David Boies, James McGough, Alan Ou, Hiroki Shirota and Speer executive producing. Devin Andre will co-produce. WME Global is handling the domestic sale.

Thorne is the former Disney Channel star who recently signed on to the AwesomenessTV movie Shovel Buddies and is attached to the ABC Family drama project Famous In Love from Pretty Little Liars exec producer/showrunner I. Marlene King.